Category: Opera

It’s Spendentag!

The cover of the current KLASSIK magazine from radio klassik Stephansdom; download it here.

radio klassik Stephansdom‘s monthly Spendentag will take place tomorrow, September 18, and this month’s theme is Land der Töne, or the “Land of Sounds,” with a day of special programming to accompany the fundraising. I once again suggest that you take out your wallets and send a few euros Vienna-bound. Here are a few details about the day (DeepL gets credit for the translation):

The focus is on the world of Austrian classical music —created by countless geniuses who worked in Austria and performed by the orchestras and soloists that we bring to your ears every day.

On the day of the fundraiser, there will be interviews in the morning with art historian Sabine Haag [former director of the Kunsthistorisches Museum] and young soprano Amelie Hois. Lawyer and former politician Irmgard Griss [former President of the Austrian Supreme Court] will be asking questions about Austria, the land of music … and in the afternoon the Carinthian Singing Community will be visiting the studio live in Vienna! There will be spoken contributions and music from Eva Stubenvoll, the director of the Musikverein Graz, Dr. Michael Nemeth, and many more.

If you listen at the right time, you might even hear a few words from yours truly.

I’ve written before about radio klassik Stephansdom, but it occurs to me that I should probably let you know a little more about what you’ll be supporting. rkS is a 24-hour, seven-day-a-week over-the-air radio station in Austria at 107.3 FM in Vienna and 94.2 FM in Graz. Thankfully, it’s also streamable over a variety of methods, including via the web. Its weekly programming features a variety of daily magazines and musical programs (including three full operas every week at 8:00 pm Vienna time) and live masses from the Stephansdom itself every Sunday, along with other spiritually-nourishing programming. The fine Sunday Musica Sacra program (at 1:00 pm Eastern time) bridges the religious and musical offerings, and the daily CD des Tages features the best of recent releases. Get to know the delightfully personable and knowledgable on-air talent here. You can download both the weekly and the opera schedules here. You can also request your favorite recordings to be played on Sunday’s Wunschkonzert here.

Originally supported and funded by the Archdiocese of Vienna (hence the religious programs), the unique radio klassik Stephansdom now depends on the support of its listeners for its continued health. That means you. So brush up your German and make a contribution to radio klassik Stephansdom this Spendentag. Then tune in and enjoy the show.

Tristan in Philadelphia

Nina Stemme sings while Yannick Nézet-Séguin conducts The Philadelphia Orchestra in a production of Tristan und Isolde at Marian Anderson Hall on June 1, 2025. Photo: Jessica Griffin/The Philadelphia Orchestra.

It’s really too good not to share: you can now hear (until September 13) the recent concert performance of Wagner’s Tristan und Isolde from The Philadelphia Orchestra under the baton of Yannick Nézet-Séguin, featuring Nina Stemme’s final performance as Wagner’s doomed heroine, recorded live on June 1 of this year. WRTI notes that Wagner’s opera has had a long history with the Philadelphia Orchestra, having presented the first full performance of Tristan und Isolde in the United States 90 years ago. Melinda Whiting has more at the WRTI web site, where you can access the recording.

Now that summer is past, I’m hoping to post here more regularly: specifically about Philadelphia, my home town. I miss it, and hope to get there more. You can read more about my long personal relationship with Philadelphia in these blog posts. Feel free to let me know what you think.

What can’t be said

The Wiener Staatsoper, from the stage.

I have been slightly revising some earlier posts about opera, and in the process came across the below observation from Kenneth Clark. (My own opera posts can be found here — feel free to scroll down that page to skip this one.)

What on earth has given opera its prestige in western civilisation — a prestige that has outlasted so many different fashions and ways of thought? Why are people prepared to sit silently for three hours listening to a performance of which they do not understand a word and of which they very seldom know the plot? Why do quite small towns all over Germany and Italy still devote a large portion of their budgets to this irrational entertainment? Partly, of course, because it is a display of skill, like a football match. But chiefly, I think, because it is irrational. “What is too silly to be said may be sung” — well, yes; but what is too subtle to be said, or too deeply felt, or too revealing or too mysterious — these things can also be sung and can only be sung.

— Kenneth Clark
Civilisation (1969)